MySpace a place for friends

BIENVENUE HELLO TO ALL

the history begins 7 years ago; following the realization of the BO of “the Dancer” (film produced by Luc Besson; realized by Fred Garçon and music composed by group POZ)

I began the first piece in studio WSL. when we were on the end of the BO, a first musical idea emerged.

while discussing with “François Benichou” (the keyboard of group POZ) the concept was specified. the idea was that instead of making sung melodies on playbacks I was going to make the artists of different cultures and origins speak.

on each piece, there would be an interpreter. to start with, the first title was called “space cake indigestion”: the flutes and the gimmic of cord pizz pointed out this feeling of interval to me.

I called “Eli Chemali” (great Lebanese pianist and scholar of the Arab world) and asked him whether he knew an Arabic poem which talked about the effects of marijuana and he answered me this:
“of course, Abou Naouass, poet of the 10th century, wrote much on the question and I remember some of the verses”. immediately I asked him to come to the studio. the recording lasted 1/4 of an hour. we made 2 takes. the 1st was hesitant but the 2nd was magic. the album had posed its 1st stone.

For the continuation I went on tour with Mano Solo which enabled me to compose the majority of the titles:
"The white line" with Mano Solo, environment of "black french polar" and its catchy leiytmotif: “The white line, cut, because we are advancing” (French)
Ayzarée for “Suzy Randriariarimalala” tragic history of the loss of her voice (Malagasy)
Ty Moia Nega and the sensual voice of Natalia, a history of disappointment. A lover left alone one morning and the flowers of her lover which start to fade (Russian)
Abuelo, a homage to the grand-father of Norberto Arias (Spanish)
Annti, with the one and only Valerie Belinga, an interpretation of the African suffering (Bantou)
Verse 18, a shakespearian account with Gulliver Allwood (English)
Oydeh, with the serious voice of "Ma”, a story which one tells the Japanese children, whose moral is: “do not spend your life in idleness because, once old, you will be turn back on your past and what you'll see there you will not like at all” (Japanese)
Kuramati, composed in the Maldives, does not yet have an interpreter. I strongly hope for Susheela Raman's participation, with whom I worked with on three concerts as a percussionist (Indian)
and for the last piece in which remains Olympian work (I must record the piano part with François benichou & Jean louis Marie and the violins which are the principal theme of the composition) music and to interpret its text (Swedish).

there we go. I will keep you informed with my future progress.

By Bendjafly